监控与直播——论徐冰《蜻蜓之眼》的两种观看方式

On Digital Surveillance and Live Broadcasting: Two Viewing Modes in Xu Bing's DRAGONFLY EYES

本文围绕徐冰电影《蜻蜓之眼》展开关于影像资料库建立与受众观看之间的讨论,将观看分为"监控"与"直播"两个类型,这两种观看类型的连接需要经由"蜻蜓之眼"的反转。文章结合福柯"全景敞视监狱"、保罗·维利里奥"失神"概念以及巴迪欧的"电影的虚假"运动理论等,针对充斥着影像景观的当代社会背景重新提出"什么才是观看"的问题。作者提出观众的"眼"能够建立影像资料库并主动进行数据分析与重组,经由影像的训练,观众的"眼"在运动中也带有虚假性。通过对比分析"观者之眼"与"蜻蜓之眼"的异同,引发对后现代社会的信任危机以及主体身份漂移的讨论。

This article focuses on Xu Bing’s newly released feature film Dragonfly Eyes by dividing the way of viewing into two types:digital surveillance and live broadcasting.By emphasizing on it,the article puts forward and rethinks about the question of“what are we looking at”in combination with Michel Foucault’s“panopticon”theory,Paul Virlio’s“picnolepsie”theory,and Alain Badiou’s concept towards“the false movement of Cinema”.The author believes that the viewer’s“eye”can be trained to establish an image database and actively conduct data analysis.Through the training of eyes,the viewer’s“eye”is also false.Furthermore,the comparative study between the viewer’s“eye”and the dragonfly’s eye led to the discussion of the trust crisis in the postmodern society and the drift of subject identity.